Erik Satie

Eric Alfred Leslie Satie (UK: /ˈsæti, ˈsɑːti/, US: /sæˈtiː,

sɑːˈtiː/; [1][2] French: [eʁik sati]; 17 May 1866 – 1 July 1925),
who signed his name Erik Satie after 1884, was a French
composer and pianist. He was the son of a French father and
a British mother. He studied at the Paris Conservatoire, but
was an undistinguished student and obtained no diploma.
In the 1880s, he worked as a pianist in café-cabaret in
Montmartre, Paris, and began composing works, mostly for
solo piano, such as his Gymnopédies. He also wrote music
for a Rosicrucian sect to which he was briefly attached.

After a spell in which he composed little, Satie entered

Paris's second music academy, the Schola Cantorum, as a
mature student. His studies there were more successful than
those at the Conservatoire. From about 1910, he became the
focus of successive groups of young composers attracted by
his unconventionality and originality. Among them were the
group known as Les Six. A meeting with Jean Cocteau in Satie in 1920 by Henri Manuel
1915 led to the creation of the ballet Parade (1917) for Serge
Diaghilev, with music by Satie, sets and costumes by Pablo
Picasso, and choreography by Léonide Massine.

Satie's example guided a new generation of French composers away from post-Wagnerian
impressionism towards a sparer, terser style of neoclassicism. Among those influenced by him
during his lifetime were Maurice Ravel and Francis Poulenc, and he is seen as an influence on
more recent, minimalist composers such as John Cage and John Adams. His harmony is often
characterised by unresolved chords, he sometimes dispensed with bar-lines, as in his
Gnossiennes, and his melodies are generally simple and often reflect his love of old church
music. He gave some of his later works absurd titles, such as Veritables Preludes flasques (pour
un chien) ("True Flabby Preludes (for a Dog)", 1912), Croquis et agaceries d'un gros bonhomme
en bois ("Sketches and Exasperations of a Big Wooden Man", 1913) and Sonatine
bureaucratique ("Bureaucratic Sonata", 1917). Most of his works are brief, and the majority are
for solo piano. Exceptions include his "symphonic drama" Socrate (1919) and two late ballets
Mercure and Relâche (1924).

Satie never married, and his home for most of his adult life was a single small room, first in
Montmartre and, from 1898 to his death, in Arcueil, a suburb of Paris. He adopted various
images over the years, including a period in quasi-priestly dress and another in which he always
wore identically-coloured velvet suits, and is known for his last persona, in neat bourgeois
costume, with bowler hat, wing collar, and umbrella. He was a lifelong heavy drinker and died
of cirrhosis of the liver at the age of 59.

Contents
Life and career
Early years
Montmartre
Move to Arcueil
Last years
Works
Music
Writings
Notes, references and sources
Notes
References
Sources
External links

Life and career

Early years
Satie was born on 17 May 1866 in Honfleur, Normandy, the
first child of Alfred Satie and his wife Jane Leslie née
Anton). Jane Satie was an English Protestant, of Scottish
descent; Alfred Satie, a shipping broker, was a Roman
Catholic anglophobe.[3] A year later, the Saties had a
daughter, Olga, and in 1869, a second son, Conrad. The
children were baptised in the Anglican church.[3]

After the Franco-Prussian War, Alfred Satie sold his

business and the family moved to Paris, where he eventually
set up as a music publisher.[4] In 1872 Jane Satie died and
Eric and his brother were sent back to Honfleur to be
brought up by Alfred's parents. The boys were rebaptised as
Roman Catholics and educated at a local boarding school, Satie house and museum in
where Satie excelled in history and Latin but nothing else. [5] Honfleur, Normandy
In 1874 he began taking music lessons with a local organist,
Gustave Vinot, a former pupil of Louis Niedermeyer. Vinot
stimulated Satie's love of old church music, and in particular Gregorian chant.[6]

In 1878 Satie's grandmother died,[n 1] and the two boys returned to Paris to be informally
educated by their father. Satie did not attend a school, but his father took him to lectures at the
Collège de France and engaged a tutor to teach Eric Latin and Greek. Before the boys returned
to Paris from Honfleur, Alfred had met a piano teacher and salon composer, Eugénie Barnetche,
whom he married in January 1879, to the dismay of the 12-year-old Satie, who did not like
her.[7]
Eugénie Satie resolved that her elder stepson should become a professional musician, and in
November 1879 enrolled him in the preparatory piano class at the Paris Conservatoire.[8] Satie
strongly disliked the Conservatoire, which he described as "a vast, very uncomfortable, and
rather ugly building; a sort of district prison with no beauty on the inside – nor on the outside,
for that matter".[n 2] He studied solfeggio with Albert Lavignac and piano with Émile Decombes,
who had been a pupil of Frédéric Chopin.[10] In 1880 Satie took his first examinations as a
pianist: he was described as "gifted but indolent". The following year Decombes called him "the
laziest student in the Conservatoire".[8] In 1882 he was expelled from the Conservatoire for his
unsatisfactory performance.[4]

In 1884 Satie wrote his first known composition, a short Allegro for
piano, written while on holiday in Honfleur. He signed himself
"Erik" on this and subsequent compositions, though continuing to
use "Eric" on other documents until 1906.[11] In 1885 he was
readmitted to the Conservatoire, in the intermediate piano class of
his stepmother's former teacher, Georges Mathias. He made little
progress: Mathias described his playing as "Insignificant and
laborious" and Satie himself "Worthless. Three months just to learn
the piece. Cannot sight-read properly".[12][n 3] Satie became
fascinated by aspects of religion. He spent much time in Notre-
Dame de Paris contemplating the stained glass windows and in the
National Library examining obscure medieval manuscripts.[15] His
friend Alphonse Allais later dubbed him "Esotérik Satie".[16] From
Satie in 1884
this period comes Ogives, a set of four piano pieces inspired by
Gregorian chant and Gothic church architecture.[17]

Keen to leave the Conservatoire, Satie volunteered for military service, and joined the 33rd
Infantry Regiment in November 1886.[18] He quickly found army life no more to his liking than
the Conservatoire, and deliberately contracted acute bronchitis by standing in the open, bare-
chested, on a winter night.[19] After three months' convalescence he was invalided out of the
army.[8][20]

Montmartre
In 1887, at the age of 21, Satie moved from his father's residence to lodgings in the 9th
arrondissement. By this time he had started what was to be an enduring friendship with the
romantic poet Contamine de Latour, whose verse he set in some of his early compositions,
which Satie senior published.[8] His lodgings were close to the popular Chat Noir cabaret on the
southern edge of Montmartre where he became an habitué and then a resident pianist. The Chat
Noir was known as the "temple de la 'convention farfelue'" – the temple of zany convention,[21]
and as the biographer Robert Orledge puts it, Satie, "free from his restrictive upbringing …
enthusiastically embraced the reckless bohemian lifestyle and created for himself a new persona
as a long-haired man-about-town in frock coat and top hat". This was the first of several
personas that Satie invented for himself over the years.[8]

In the late 1880s Satie styled himself on at least one occasion "Erik Satie –
gymnopédiste",[22][n 4] and his works from this period include the three Gymnopédies (1888)
and the first Gnossiennes (1889 and 1890). He earned a modest living as pianist and conductor
at the Chat Noir, before falling out with the proprietor and moving to become second pianist at
the nearby Auberge du Clou. There he became a close friend of Claude Debussy, who proved a
kindred spirit in his experimental approach to composition. Both were bohemians, enjoying the
same café society and struggling to survive financially.[24] At the Auberge du Clou Satie first
encountered the flamboyant, self-styled "Sâr" Joséphin Péladan, for
whose mystic sect, the Ordre de la Rose-Croix Catholique du
Temple et du Graal, he was appointed composer.[25] This gave him
scope for experiment, and Péladan's salons at the fashionable
Galerie Durand-Ruel gained Satie his first public hearings.[8][26]
Frequently short of money, Satie moved from his lodgings in the
9th arrondissement to a small room in the rue Cortot not far from
Sacre-Coeur,[27] so high up the Butte Montmartre that he said he
could see from his window all the way to the Belgian border.[n 5]

By mid-1892, Satie had composed the first pieces in a

compositional system of his own making (Fête donnée par des
Chevaliers Normands en l'honneur d'une jeune demoiselle),
provided incidental music to a chivalric esoteric play (two Préludes
du Nazaréen), had a hoax published (announcing the premiere of
Satie by Santiago Rusiñol,
his non-existent Le bâtard de Tristan, an anti-Wagnerian opera)
1891 [29] and broken from Péladan, starting that autumn with the
"Uspud" project, a "Christian Ballet", in collaboration with
Latour. [30] He challenged the musical establishment by proposing himself – unsuccessfully –
for the seat in the Académie des Beaux-Arts made vacant by the death of Ernest Guiraud.[31][n 6]
Between 1893 and 1895, Satie, affecting a quasi-priestly dress, was the founder and only
member of the Eglise Métropolitaine d'Art de Jésus Conducteur. From his "Abbatiale" in the
rue Cortot, he published scathing attacks on his artistic enemies.[8]

In 1893 Satie had what is believed to be his only love affair, a five-
month liaison with the painter Suzanne Valadon. After their first
night together, he proposed marriage. The two did not marry, but
Valadon moved to a room next to Satie's at the rue Cortot. Satie
became obsessed with her, calling her his Biqui and writing
impassioned notes about "her whole being, lovely eyes, gentle
hands, and tiny feet".[33] During their relationship Satie composed
the Danses gothiques as a means of calming his mind,[34] and
Valadon painted his portrait, which she gave him. After five months
she moved away, leaving him devastated. He said later that he was Suzanne Valadon, 1885
left with "nothing but an icy loneliness that fills the head with
emptiness and the heart with sadness".[33]

In 1895 Satie attempted to change his image once again: this time to that of "the Velvet
Gentleman". From the proceeds of a small legacy he bought seven identical dun-coloured suits.
Orledge comments that this change "marked the end of his Rose+Croix period and the start of a
long search for a new artistic direction".[8]

Move to Arcueil
In 1898, in search of somewhere cheaper and quieter than Montmartre, Satie moved to a room
in the southern suburbs, in the commune of Arcueil-Cachan, eight kilometres (five miles) from
the centre of Paris.[35][36] This remained his home for the rest of his life. No visitors were ever
admitted.[8] He joined a radical socialist party (he later switched
his membership to the Communist Party),[37] but adopted a
thoroughly bourgeois image: the biographer Pierre-Daniel
Templier, writes, "With his umbrella and bowler hat, he resembled
a quiet school teacher. Although a Bohemian, he looked very
dignified, almost ceremonious".[38]

Satie earned a living as a cabaret pianist, adapting more than a

hundred compositions of popular music for piano or piano and
voice, adding some of his own. The most popular of these were Je te
veux, text by Henry Pacory; Tendrement, text by Vincent Hyspa;
Poudre d'or, a waltz; La Diva de l'Empire, text by Dominique
Bonnaud/Numa Blès; Le Picadilly, a march; Légende "Les quatre cheminées",
californienne, text by Contamine de Latour (lost, but the music Arcueil – Satie's home from
later reappears in La belle excentrique); and others. In his later 1898 to his death
years Satie rejected all his cabaret music as vile and against his
nature.[39] Only a few compositions that he took seriously remain
from this period: Jack in the Box, music to a pantomime by Jules Depaquit (called a "clownerie"
by Satie); Geneviève de Brabant, a short comic opera to a text by "Lord Cheminot" (Latour);
The Dreamy Fish, piano music to accompany a lost tale by Cheminot, and a few others that
were mostly incomplete. Few were presented, and none published at the time.[40]

A decisive change in Satie's musical outlook came after he

heard the premiere of Debussy's opera Pelléas et Mélisande
in 1902. He found it "absolutely astounding", and he re-
evaluated his own music.[8] In a determined attempt to
improve his technique, and against Debussy's advice, he
enrolled as a mature student at Paris's second main music
academy, the Schola Cantorum in October 1905, continuing
his studies there until 1912.[41] The institution was run by
Vincent d'Indy, who emphasised orthodox technique rather
than creative originality.[42] Satie studied counterpoint with
Albert Roussel and composition with d'Indy, and was a
much more conscientious and successful student than he
Musical friends and teachers: from had been at the Conservatoire in his youth.[43]
top left clockwise – Debussy, d'Indy,
Roussel, Ravel It was not until 1911, when he was in his mid-forties, that
Satie came to the notice of the musical public in general. In
January of that year Maurice Ravel played some early Satie
works at a concert by the Société musicale indépendante, a forward-looking group set up by
Ravel and others as a rival to the conservative Société nationale de musique.[44][n 7] Satie was
suddenly seen as "the precursor and apostle of the musical revolution now taking place";[46] he
became a focus for young composers. Debussy, having orchestrated the first and third
Gymnopédies, conducted them in concert. The publisher Demets asked for new works from
Satie, who was finally able to give up his cabaret work and devote himself to composition.
Works such as the cycle Sports et divertissements (1914) were published in de luxe editions. The
press began to write about Satie's music, and a leading pianist, Ricardo Viñes, took him up,
giving celebrated first performances of some Satie pieces.[8]

Last years
Satie became the focus of successive groups of young composers,
whom he first encouraged and then distanced himself from,
sometimes rancorously, when their popularity threatened to eclipse
his or they otherwise displeased him.[47] First were the "jeunes" –
those associated with Ravel – and then a group known at first as the
"nouveaux jeunes", later called Les Six, including Georges Auric, Louis
Durey, Arthur Honegger, and Germaine Tailleferre, joined later by
Francis Poulenc and Darius Milhaud.[8] Satie dissociated himself from
the second group in 1918, and in the 1920s he became the focal point
of another set of young composers including Henri Cliquet-Pleyel, Satie's final persona,
Roger Désormière, Maxime Jacob and Henri Sauguet, who became bowler-hatted and
formally dressed
known as the "Arcueil School".[48] In addition to turning against
Ravel, Auric and Poulenc in particular,[49] Satie quarrelled with his
old friend Debussy in 1917, resentful of the latter's failure to appreciate the more recent Satie
compositions.[50] The rupture lasted for the remaining months of Debussy's life, and when he
died the following year, Satie refused to attend the funeral.[51] A few of his protégés escaped his
displeasure, and Milhaud and Désormière were among those who remained friends with him to
the last.[52]

The First World War restricted concert-giving to some extent, but

Orledge comments that the war years brought "Satie's second lucky
break", when Jean Cocteau heard Viñes and Satie perform the
Trois morceaux in 1916. This led to the commissioning of the ballet
Parade, premiered in 1917 by Sergei Diaghilev's Ballets Russes,
with music by Satie, sets and costumes by Pablo Picasso, and
choreography by Léonide Massine. This was a succès de scandale,
with jazz rhythms and instrumentation including parts for
typewriter, steamship whistle and siren. It firmly established Satie's
name before the public, and thereafter his career centred on the
theatre, writing mainly to commission.[8]

In October 1916 Satie received a commission from the Princesse de

Polignac that resulted in what Orledge rates as the composer's
masterpiece, Socrate, two years later. Satie set translations from
Plato's Dialogues as a "symphonic drama". Its composition was
interrupted in 1917 by a libel suit brought against him by a music
Parade, 1917 – music by critic, Jean Poueigh, which nearly resulted in a jail sentence for
Satie, décor by Picasso Satie. When Socrate was premiered, Satie called it "a return to
classical simplicity with a modern sensibility", and among those
who admired the work was Igor Stravinsky, a composer whom Satie
regarded with awe.[8][13]

In his later years Satie became known for his prose. He was in demand as a journalist, making
contributions to the Revue musicale, Action, L’Esprit nouveau, the Paris-Journal [53] and other
publications from the Dadaist 391[54] to the English-language magazines Vanity Fair and The
Transatlantic Review.[8][55] As he contributed anonymously or under pen names to some
publications it is not certain how many titles he wrote for, but Grove's Dictionary of Music and
Musicians lists 25.[8] Satie's habit of embellishing the scores of his compositions with all kinds
of written remarks became so established that he had to insist that they must not be read out
during performances.[n 8]

In 1920 there was a festival of Satie's music at the Salle Erard in Paris.[57] In 1924 the ballets
Mercure (with choreography by Massine and décor by Picasso) and Relâche ("Cancelled") (in
collaboration with Francis Picabia and René Clair), both provoked headlines with their first
night scandals.[8]

Despite being a musical iconoclast, and encourager of modernism,

Satie was uninterested to the point of antipathy about innovations
such as the telephone, the gramophone and the radio. He made no
recordings, and as far as is known heard only a single radio
broadcast (of Milhaud's music) and made only one telephone
call.[13] Although his personal appearance was customarily
immaculate, his room at Arcueil was in Orlege's word "squalid",
and after his death the scores of several important works believed
lost were found among the accumulated rubbish.[58] He was
incompetent with money. Having depended to a considerable
extent on the generosity of friends in his early years, he was little
better off when he began to earn a good income from his
compositions, as he spent or gave away money as soon as he Satie in his later years
received it.[13] He liked children, and they liked him, but his
relations with adults were seldom straightforward. One of his last
collaborators, Picabia, said of him:

Satie's case is extraordinary. He's a mischievous and cunning old artist. At least, that's
how he thinks of himself. Myself, I think the opposite! He's a very susceptible man,
arrogant, a real sad child, but one who is sometimes made optimistic by alcohol. But he's
a good friend, and I like him a lot.[13]

Throughout his adult life Satie was a heavy drinker, and in 1925 his health gave way. He was
taken to the Hôpital Saint-Joseph in Paris, suffering from cirrhosis of the liver. He died there at
8.00 p.m. on 1 July, at the age of 59.[59] He was buried in the cemetery at Arcueil.[60]

Works

Music
In the view of the Oxford Dictionary of Music, Satie's importance lay in "directing a new
generation of French composers away from Wagner-influenced impressionism towards a
leaner, more epigrammatic style".[61] Debussy christened him "the precursor" because of his
early harmonic innovations.[62] Satie summed up his musical philosophy in 1917:

To have a feeling for harmony is to have a feeling for tonality… the melody is the Idea, the
outline; as much as it is the form and the subject matter of a work. The harmony is an
illumination, an exhibition of the object, its reflection.[63]
 Among his earliest compositions
were sets of three Gymnopédies
(1888) and his Gnossiennes (1889
onwards) for piano. They evoke the
ancient world by what the critics
Roger Nichols and Paul Griffiths
describe as "pure simplicity,
monotonous repetition, and highly
original modal harmonies".[62] It is
possible that their simplicity and
Gymnopédie No. 3 originality were influenced by
Debussy; it is also possible that it
was Satie who influenced
Debussy. [61] During the brief spell when Satie was composer to Péladan's sect he adopted a
similarly austere manner.[61]

While Satie was earning his living as a café pianist in Montmartre he contributed songs and
little waltzes. After moving to Arcueil he began to write works with quirky titles, such as the
seven-movement suite Trois morceaux en forme de poire ("Three Pear-shaped Pieces") for
piano four-hands (1903), simply-phrased music that Nichols and Griffiths describe as "a résumé
of his music since 1890" – reusing some of his earlier work as well as popular songs of the
time.[62] He struggled to find his own musical voice. Orledge writes that this was partly because
of his "trying to ape his illustrious peers … we find bits of Ravel in his miniature opera
Geneviève de Brabant and echoes of both Fauré and Debussy in the Nouvelles pièces froides of
1907".[8]

After concluding his studies at the Schola Cantorum in 1912 Satie composed with greater
confidence and more prolifically. Orchestration, despite his studies with d'Indy, was never his
strongest suit,[64] but his grasp of counterpoint is evident in the opening bars of Parade,[65] and
from the outset of his composing career he had original and distinctive ideas about
harmony.[66] In his later years he composed sets of short instrumental works with absurd titles,
including Veritables Preludes flasques (pour un chien) ("True Flabby Preludes (for a Dog)",
1912), Croquis et agaceries d'un gros bonhomme en bois ("Sketches and Exasperations of a Big
Wooden Man", 1913) and Sonatine bureaucratique ("Bureaucratic Sonata", 1917).

In his neat, calligraphic hand,[67] Satie would write extensive instructions for his performers,
and although his words appear at first sight to be humorous and deliberately nonsensical,
Nichols and Griffiths comment, "a sensitive pianist can make much of injunctions such as 'arm
yourself with clairvoyance' and 'with the end of your thought'".[62] His Sonatine bureaucratique
anticipates the neoclassicism soon adopted by Stravinsky.[8] Despite his rancorous falling out
with Debussy, Satie commemorated his long-time friend in 1920, two years after Debussy's
death, in the anguished "Elégie", the first of the miniature song cycle Quatre petites
mélodies.[68] Orledge rates the cycle as the finest, though least known, of the four sets of short
songs of Satie's last decade.[8]

Satie invented what he called Musique d'ameublement – "furniture music" – a kind of

background not to be listened to consciously. Cinéma, composed for the René Clair film
Entr'acte, shown between the acts of Relâche (1924), is an example of early film music designed
to be unconsciously absorbed rather than carefully listened to.[69]
Satie is regarded by some writers as an
influence on minimalism, which developed
in the 1960s and later. The musicologist
Mark Bennett and the composer Humphrey
Searle have said that John Cage's music
shows Satie's influence,[70] and Searle and
the writer Edward Strickland have used the
term "minimalism" in connection with
Satie's Vexations, which the composer
implied in his manuscript should be played
over and over again 840 times.[71] John
Adams included a specific homage to Satie's
music in his 1996 Century Rolls.[72]
Manuscript of Socrate
Writings
Satie wrote extensively for the press, but unlike his
professional colleagues such as Debussy and Dukas he did
not write primarily as a music critic. Much of his writing is
connected to music tangentially if at all. His biographer
Caroline Potter describes him as "an experimental creative
writer, a blagueur[n 9] who provoked, mystified and amused
his readers".[73] He wrote jeux d'esprit claiming to eat
dinner in four minutes with a diet of exclusively white food Satie's grave in Arcueil.
(including bones and fruit mould), or to drink boiled wine
mixed with fuchsia juice, or to be woken by a servant hourly
throughout the night to have his temperature taken;[74] he wrote in praise of Beethoven's non-
existent but "sumptuous" Tenth Symphony, and the family of instruments known as the
cephalophones, "which have a compass of thirty octaves and are absolutely unplayable".[75]

Satie grouped some of these writings under the general headings Cahiers d'un mammifère (A
Mammal's Notebook) and Mémoires d'un amnésique (Memoirs of an Amnesiac), indicating, as
Potter comments, that "these are not autobiographical writings in the conventional manner".[76]
He claimed the major influence on his humour was Oliver Cromwell, adding "I also owe much
to Christopher Columbus, because the American spirit has occasionally tapped me on the
shoulder and I have been delighted to feel its ironically glacial bite".[77]

His published writings include:

A Mammal's Notebook: Collected Writings of Erik Satie (Serpent's Tail; Atlas Arkhive, No 5,
1997) ISBN 0-947757-92-9 (with introduction and notes by Ornella Volta, translations by
Anthony Melville, contains several drawings by Satie)
Correspondence presque complète: Réunie, établie et présentée par Ornella Volta (Paris:
Fayard/Imes, 2000; 1265 pages) ISBN 2-213-60674-9 (an almost complete edition of Satie's
letters, in French)
Nigel Wilkins, The Writings of Erik Satie, London, 1980.

Notes, references and sources

Notes
1. Her death was mysterious: she was found drowned on the beach at Honfleur in unexplained
circumstances.[3]
2. "un vaste bâtiment très inconfortable et assez vilain à voir – une sorte de local pénitencier
sans aucun agrément extérieur – ni intérieur du reste".[9]
3. Satie's biographer Robert Orledge has conjectured that Satie had dyslexia, a condition that
can make reading music as difficult as reading words.[13][14]
4. Later he referred to himself at least once as a "phonometrician" (meaning "someone who
measures sounds") after being called "a clumsy but subtle technician" in a book about
contemporary French composers published in 1911.[23]
5. "La vu s'étend jusqu'à la frontière belge".[28]
6. Satie repeated this gesture twice – on the deaths of Charles Gounod in 1894 and Ambroise
Thomas in 1896. Professors from the Conservatoire were elected on both occasions.[32]
7. The pieces were the second Sarabande, the first prelude to Le Fils des étoiles and the third
of the Gymnopédies.[45]
8. He wrote in the first edition of Heures séculaires et instantanées, I forbid anyone to read the
text aloud during the musical performance. Ignorance of my instructions will incur my
righteous indignation against the presumptuous culprit. No exception will be allowed".[56]
9. A blagueur is "a joker or prankster" according to the Merriam-Webster French-English
dictionary.

References
1. Wells, John C. (2008). Longman Pronunciation Dictionary (3rd ed.). Longman. ISBN 978-1-
4058-8118-0.
2. Jones, Daniel (2011). Roach, Peter; Setter, Jane; Esling, John (eds.). Cambridge English
Pronouncing Dictionary (18th ed.). Cambridge University Press. ISBN 978-0-521-15255-6.
3. Rey, p. 11
4. Gillmor, p. xix
5. Gillmor, p. 8
6. Gillmor, p. 9
7. Orledge, p. xix
8. Orledge, Robert, revised by Caroline Potter. Satie, Erik (Eric) (Alfred Leslie)" (https://doi.org/
10.1093/gmo/9781561592630.article.40105) , Grove Music Online, Oxford University Press,
2020. Retrieved 16 September 2021
9. Lajoinie, p. 12
10. Cooper, Martin, and Charles Timbrell. "Cortot, Alfred" (https://www.oxfordmusiconline.com/g
rovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-00000065
87), Grove Music Online, Oxford University Press, 2001. Retrieved 20 September 2021
(subscription required)
11. Orledge, p. xx
12. Gillmor, p. xx
13. Orledge, Robert. "Erik Satie: His music, the vision, his legacy" (https://www.gresham.ac.uk/l
ectures-and-events/erik-satie-part-one-saties-musical-and-personal-logic-and-satie-as-poet)
Archived (https://web.archive.org/web/20201125023449/https://www.gresham.ac.uk/lectures
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Duchen, Jessica (2000). Gabriel Fauré. London: Phaidon. ISBN 978-0-7148-3932-5.
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External links
 Free scores by Erik Satie at the International Music Score Library Project (IMSLP)
Free scores by Erik Satie in the Choral Public Domain Library (ChoralWiki)
"Maisons Satie" (http://www.musees-honfleur.fr/maison-satie.html) Archived (https://web.arc
hive.org/web/20170713170503/http://www.musees-honfleur.fr/maison-satie.html) 13 July
2017 at the Wayback Machine – Satie birthplace museum, Honfleur.

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